Pub Date : 2024-11-20eCollection Date: 2024-12-01DOI: 10.1515/jcfs-2024-0003
Gabriel Remy-Handfield
This article discusses and explores acclaimed new media artist Huang Hsin-Chien's virtual reality (VR) experience Bodyless (Shishenji, 2019). In this film, through the process of the body illusion or the body replacement program, a component specific to VR, viewers embody the soul of a political prisoner deceased during Taiwan's martial law era. Bodyless juxtaposes Taiwan's traditional spiritual traditions with references to the Ghost Festival () and includes a dystopic vision of the future that appears towards the end of the film. This article establishes, through a close reading of several key sequences of the film, the emergence of a techno-hauntological aesthetic. It creates a dialogue between Huang's dream-like imagery and various interpretation of Bliss Cua Lim's concepts of immiscible time and heterogeneous space. How does Bodyless visually enact, perform, and develop a techno-hauntological aesthetic? How does the artist explore philosophical concepts related to memory, time, and space by using VR?
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